The Edge Net Worth

The Edge net worth is $200 Million

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The Edge Net Worth 2018, Biography/Wiki, Married/Wedding

The Edge is an English musician with a net worth of $200 million dollars. Besides his work with U2, he’s also recorded as a solo musician, and written music for 2 musicals with band mate, Bono. Being a real loner in high school, music functioned as David’s harbor. He took both piano and guitar lessons and mostly performed along with his brother, Dick. Later on, he constructed his own first guitar and became an associate of the group Village. It was in 1980 that U2 was formed, following Larry Mullen Jr.’s advertisement asking for individuals to join a group.

The Edge Net Worth $200 Million Dollars

A U2 member since its beginning, the Edge has recorded 12 studio albums together with the group, and it has released one solo record. As a result of his employment of a rhythmic postponement effect that gives a distinguishing ambient and chiming sound, Edge’s minimalistic and textural design of playing has eventually become a signature of U2’s music. The Joshua Tree (1987), Rattle and Hum (1988) and Achtung Baby (1991) are a few of a small number of releases that brought them world-wide recognition. Off stage, he’s three kids with his first wife Aislinn O’Sullivan, who began their separation in 1991. Going through a tough period at that time, Edge’s pain can be said to possess affected Bono’s songwriting in such singles like “So Cruel,” “Who’s Gonna Ride Your Wild Horses” and “Love Is Blindness.”

Although U2 as a band are Irish, The Edge is of Welsh decendancy, his parents hailing from the South Wales town of Llanelli.

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U2 played the former Welsh national rugby station on the first night of the 'Joshua Tree' tour on 25th July 1987. This dates was hastily arranged after a fan had organised a petition of 10,000 signatures pleading for U2 to play this venue. During the show The Edge kicked a rugby ball out into the audience after Bono had said that The Edge's father (Garvin Evans), a Welshman, had predicted that one day his son would play rugby at Cardiff Arms Park.

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1

[on David Bowie] Next to The Beatles he stands as the most influential artist of all time. He truly altered the course of music history.

2

Rory Gallagher was the man for any music fan from Ireland in the mid-1970s. Especially for someone like myself who was trying at the time to master the electric guitar. He was a hard act to follow. He had an ease and command that was enviable. He left us too soon but his legacy is evident in the number of young guitarists who are drawn to his music, and through it to the music that inspired him, the Mississippi Delta blues.

3

What I hope people pick up from U2 is that individuality is the crux of what rock'n'roll is about. Every single person who picks up a guitar has the potential to do something unique, and they thwart their potential by trying to sound like other people.

4

Of course we want to be tax efficient - who doesn't?

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[on "Beautiful Day"] We were also reclaiming, I guess, some of the best-known musical and sonic hallmarks of the band, on the basis that if everyone else was ripping us off, why couldn't we?

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You can't fret about your songs being too popular and I always get a thrill when I hear one of our records out of context.

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The songs we record are always changing. They seem to have a new aspect depending on the time and place of their performance. Some need to be retired for a while so we can see them in a fresh way, but the best songs seem to always connect.

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It's often the case that our most luminous moments have a pop quality. In the end, we're always trying to express something in the most straightforward way and that's also true of great pop music. It's about clarity and it's about ideas that resonate. I'm a big fan of pop - I just wish I was better at it.

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"Beautiful Day" itself had come through various different incarnations and though we'd always felt it had something, it was kind of hard to see where it was going. Really, the moment it got exciting was when Bono hit on the lyric: "It's a beautiful day". It seems in some ways such a banal sort of lyric, but combined with the music something wild happened and we all recognised it. Then Brian's (Brian Eno) contribution was that fantastically Euro kick drum opening and keyboard line, and that gave us the clue as to where it should go next.

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When you think you probably don't need to be recording then you definitely should, and when you're pretty certain you ought to be recording you probably don't need to. Literally, at any second, if everyone's in the room, then something great can happen.

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Songwriting for U2 is always a very ambiguous process. We write as we record, but in the case of Pop we took that to the nth degree. The loops and machines offered an endless amount of options and in U2 options are not your friends. Limitations, in fact, are often really the thing, and we've made full use of our limitations over the years.

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"All That You Can't Leave Behind" was a chance to rediscover the core chemistry of U2 as a band. On the previous record, Pop, we had deconstructed the concept of the rock 'n' roll band and then on the PopMart tour we'd celebrated the surface of things, not in a cynical way but in the spirit of Warholian pop art. Even so, I think we also realised that in the process we had lost something and the attempt on "All That You Can't Leave Behind" was to find that thing again: what it was to play in a room as a band and to rediscover the eccentricity and elusiveness of what a band can do when they're performing together.

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During my time as a performer, I've certainly felt that I was seeing the end of the guitar.

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[on playing the guitar] When I came along, there was a clear need to reassess the instrument. I was drawn to the idea of minimalism. To get the maximum effect from the minimum number of notes. There was a clear need to change the furniture around.

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People always ask us if we think our songs can really change anything. And I always say that's not why we wrote the songs. We didn't write them so they would change the situation.

· John Lennon (music and lyrics by: All You Need is Love)· Paul McCartney (music and lyrics by: All You Need is Love and Silly Love Songs)· Paul Stanley (music and lyrics by: I Was Made for Loving You)· Desmond Child (music and lyrics by: I Was Made for Loving You)· Vini Poncia (music and lyrics by: I Was Made for Loving You)· Phil Collins (music and lyrics by: One More Night)· Bono (music and lyrics by: Pride - In the Name of Love)· Adam Clayton (music by: Pride - In the Name of Love)· Larry Mullen Jr. (music by: Pride - In the Name of Love)· Kenny Gamble (music and lyrics by: Don't Leave Me This Way)· Leon Huff (music and lyrics by: Don't Leave Me This Way)· Cary Gilbert (music and lyrics by: Don't Lea